The organ of Royal Holloway began life as a small three manual
Walker of 1886. Unfortunately rebuilt in the 1950s, it was replaced
in the late 1970s by a new Harrison organ incorporating some earlier
pipework. The instrument, housed in a distinctive (19th
century) case is rather reminiscent, qua concept, of the work
done by Ralph Downes 10-15 years earlier. The Choir is in fact
a French classical-inspired Positif with a cornet décomposée,
Cymbale, and Cromorne. The Great contains just two 8’ flues, a
cornet composée and an 8’4’ chamade reed unit. Astonishingly the
Swell contains yet another cornet, together with the original
Walker Celeste (beautiful!) and reeds. A strongly neo-classical
leaning is evident then, although, with its electric action, 61/32
compasses, and usual complement of pistons and ‘Anglican essentials’,
it is ultimately another rather dated example of an English organ
trying to be all things to all people.

It’s hardly the
worst example of its kind however, and Rupert Gough, its organist,
should be congratulated for putting together such a cunning
programme of post-impressionistic French music which aesthetically
comes off remarkably well. The neo-classical nature of the
organ, with its slight lack of fundamental, all those cornets,
and the reeds - even the chamades are cleverly used - are
all exploited in an appropriate way. Only the fortissimo registrations,
with the unavoidable screamy mixtures, really grate.

The inclusion
of the unknown repertoire is also welcome. The Noël pieces
by Guy Morançon are in fact ‘off colour’ - at least slightly
acerbic, neo-classical - versions, one might say, of the Noël
genre so loved by the French organists of the 18th
century. He goes as far as to use the typical registration
combinations and textures found in such pieces, and adds interest
by utilising Noël themes not used by Balbastre, Dandrieu,
Daquin et al. Morançon is organist of Notre-Dame-des-Victoires
in Paris, and a former student of Dupré and Messiaen. Pasquet’s
pieces are less derivative, using the distinctively colourful
melodies from Brittany to create tuneful character pieces,
more impressionistic, in texture at least, than the other
works on the CD. They remind me a little of Eugene Reuchsel’s
Bouquet de France. Pasquet is Professor of Analysis
at the École Normale de Musique in Paris.

While I would have
enjoyed some more photos, this is well presented, well conceived,
and clever enough to hold my interest, despite the not-terribly-interesting
organ. As with previous releases, Rupert Gough plays with commitment
and an excellent sense of timing and, especially, colour. I look
forward to future releases from him.

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